Whenweconsidergreatpaintersofthepast,thestudyofartandthestudyofillusioncannotalwaysbeseparated.ByillusionImeanthosecontrivancesofcolor,line,shape,andforththatleadustoseemarksonaflatsurfaceasdepictingthree-dimensionalobjectsinspace.ImustemphasizethatIamnotmakingaplea,disguisedorotherwise,fortheexerciseofillusionisttricksinpaintingtoday,althoughIam,infactrathercriticalofcertaintheoriesofnon-representationalart.Buttoargueoverthesetheorieswouldbetomissthepoint.ThatthediscoveriesandeffectsofrepresentationthatweretheprideofearlierartistshavebecometrivialtodayIwouldnotdenyforamoment.YetIbelievethatweareinrealdangeroflosingcontactwithpastmastersifweacceptthefashionabledoctrinethatsuchmattersneverhadanythingtodowithart.Theveryreasonwhytherepresentationofnaturecannowbeconsideredsomethingcommonplaceshouldbeofthegreatestinteresttoarthistorians.Neverbeforehastherebeenanagewhenthevisualimagewassocheapineverysenseoftheword.Wearesurroundedandassailedbypostersandadvertisements,comicsandmagazineillustrations.Weseeaspectsofrealityrepresentedontelevision,postagestamps,andfoodpackages.Paintingistaughtinschoolandpracticedasapastime,andmanymodestamateurshavemasteredtricksthatwouldhavelookedlikesheermagictothe14th?centurypainterGiotto.EventhecrudecoloredrenderingsonacerealboxmighthavemadeGiotto’scontemporariesgasp.PerhapstherearepeoplewhoconcludedfromthisthatthecerealboxissuperiortoaGiotto;Idonot.ButIthinkthatthevictoryandvulgarizationofrepresentationalskillscreateaproblemforbotharthistoriansandcritics.InthisconnectionitisinstructivetoremembertheGreeksayingthattomarvelisthebeginningofknowledgeandifweceasetomarvelwemaybeindangerofceasingtoknow.Ibelievewemustrestoreoursenseofwonderatthecapacitytoconjureupbyforms,lines,shades,orcolorsthosemysteriousphantomsofvisualrealitywecall“pictures.”Evencomicsandadvertisements,rightlyviewed,providefoodforthought.Justasthestudyofpoetryremainsincompletewithoutanawarenessofthelanguageofprose,so,Ibelieve,thestudyofartwillbeincreasinglysupplementedbyinquiryintothe“linguistics”ofthevisualimage.Thewaythelanguageofartreferstothevisibleworldisbothsoobviousandsomysteriousthatitisstilllargelyunknownexcepttoartistswhouseitasweusealllanguage—withoutneedingtoknowitsgrammarandsemantics. Whichofthefollowingcanbeinferredfromthepassage,abouttheadherentsof“certaintheoriesofnonrepresentationalart”?
A.They consider the use of illusion to be inappropriate in contemporary art.
B.They do not agree the marks on a flat surface can ever satisfactorily convey the illusion of three-dimensional space.
C.They do not discuss important works of art created in the past.
D.They do not think that the representation of nature was ever the primary goal of past painters.
正确答案是A